The development of land art in the 1960s, as a form of mostly Anglo-centric institutional critique, truly was art stepping into the outdoors, combined with a degree of spirituality, it evokes phenomenological responses. Richard Long, one of land art’s most noted figures, works in the mediums of sculpture, photography and text. His latest show at Haunch of Venison, Human Nature is his first solo show in London since the major retrospective at Tate Britain in 2009.
A circular formation of white stone dominates the Victorian interior of Haunch of Venison’s first space, a typical work by the artist in which objects found on a lengthy walks have been displaced into the gallery. Long has effectively and simply documented his journey. The walk is also captured in photographs located nearby to provide a complete experience – that one moment in Long’s memory, that one journey taken twice over and those structures remembered are embodied before us. Perhaps Long is attempting to convey the uniqueness of the exchanges we have with the things around us.
One particular work, Human Nature – the namesake of the exhibition, invites attention. Long has used Chinese blue pigment and red Vallauris clay from southern France to cover an entire wall, the work encapsulates the rather balanced sense of his works playing with time, space, memory and human experience.
The exhibition runs until 20 August.
Image courtesy of Richard Long